OCTOPIE

First about the concept. "In a near-future world where creativity is stifled and freedom of expression is a distant memory, music has been hijacked by an authoritarian regime as a tool of control." The plot follows "Diamond, a disillusioned employee of the regime, who discovers the forbidden music of the underground band (...) leading to her exile from Dollar City and a perilous journey..." Therefor the album is "a story of resistance, transformation and the enduring power of authentic art." There may be a slight resemblance of '2112' and Kilroy Was Here but Octopie's dystopic vision is truly their own. Another question is, how well the listener can visualize the characters, the surroundings and the action in his/her mind. I find it rather difficult.

Octopie plays hard-boiled 100% prog I'd categorize as Eclectic Prog. Gentle Giant, VdGG and the early Queen could be among their influences. The arrangements feature flute and trumpet, and a good variety of keyboards is essential to the sound, as are definitely the passionate vocals that bravely use falsetto every now and then.

Those who have enjoyed Octopie's earlier works won't have difficulties to cherish Green Divine as the band's marvelous Magnum Opus. The 86+ minute 2-CD album is a big and exhausting thing to absorb, and had I chosen a more negative reception I might say it's an overblown mess full of complexity for its own sake, and with a bit clichéd concept. But, especially on the second disc, the atmospheric calmer moments make me appreciate the extremely dynamic and colourful whole. And it must be said the band is excellent. So is the production, each instrument sounds clear. The flute sometimes adds a Jethro Tull vibe which is a delight.

Can't deny, this is a highly ambitious and original prog work, an acquired taste at least for the vocals, no doubt, but done with such passion and skill that it deserves four stars.

Before tackling the album itself in near future, here's a quick look at the first one of the two singles from it that were released this autumn. The near 8-minute 'Green Love' begins with a spacey instrumental intro for synths (sonically slightly resembling certain moments in Gentle Giant's Acquiring the Taste). The full band playing starts after one minute: intense and complex prog in a pretty fast tempo, bassist Tom Tamlander's vocals strongly present except for the wild instrumental latter half that escalates into a manic drum solo, soon joined by the rest of the group. The finale has strong keyboard chords.

Octopie's music is undoubtedly easier to swallow in small quantities, although in principle this is against their conceptual approach. At least this song, listened separately, doesn't contain the over-the-top vocals to the point of irritation. Can't say I'd be very fond of the highly hectic composition either, but it's a good calling card to show what this personal band is capable of.

There are thirteen tracks of relatively short length (six of them under three minutes), but the whole has a feel of a singular epic. In the end it's just a matter of choice if the parts are separate tracks on the CD or sections of longer entities. This album is definitely meant to be listened in its entirety, so that's not an important question here, but I appreciate the track separation: makes it easier to follow, and to skip the irritating falsetto funk of 'Disco Pirates', the only track I don't like.

Vocals of Tom Tamlander (who also plays flute and bass) could be generally criticized as the weak link of this band, as they can be quite over-theatrical (poor man's Freddie Mercury) and amateurish-sounding especially on higher notes, but on this album they function mostly very well. Happily this is not a rock opera in the sense where the multitude of words would be used as a vehicle of narrative. That is, there's a good balance between sung and instrumental parts, and on more delicate sections such as 'A Theme from the Past' the emotional, wailing vocals don't get over the top so easily. The third track 'Into the Vortex' continues the strong beginning of the album with a great, atmospheric instrumental section starring guitar, and later after irritatingly shouty vocal lines there's another solo, this time for a Moog.

The music has a distinctive prog edge that sometimes reminds me of classics such as Thick As A Brick (JETHRO TULL probably being among Octopie's influences, especially for the Barre-like electric guitar). 'Whale Song' has some ZEPPELIN-like Heavy Prog ballad feel. 'Blast Off' is a fast instrumental with a virtuotic jazz-rock approach. 'Child Planet' with its choral parts is very quirky in the vein of QUEEN, 10cc and KLAATU (Hope, 1977), and the following 'Hymn for the Lonely People' is a calm and beautiful piano-centred little acoustic piece in which Tamlander's tender vocals work surprisingly well.

Yes, indeed this album is charmingly eclectic and musically ambitious in a good way. There are some less pleasant moments but that is easily forgiven. The musical competence in this band is among the best in today's Finnish prog, and the bravery of taking risks of sounding too pretentious is always better than doing everything the safest and the most common way. Applause!

The sound is quite hard rocking, especially in the last song 'It's Time' (for some reason not printed on the back cover) which is the most guitar-oriented and ballsiest track. In 'Departed' the delicious, Tull- reminding flute blends wonderfully with the folky retro prog sound. The mostly instrumental latter half of it is mesmerizing. Slightly slower 'Moths Pt 2' also has a vintage feel. In just seven minutes Octopie manage to include more - from beautiful sound texture to emotional singing to soaring soli, etc - than an average band might luckily reach in double length, and yet the track never feels overloaded. This is retro-style modern prog nearly at its best! A well stirred cocktail of Camel, Jethro Tull, Pink Floyd and cocky hard rock could sound something like this, not forgetting the brave, eclectic progressivity.

'Empty Pages' has a hint of blues & funk flavour occasionally, but most of all it's an emotional prog semi-ballad. Even with some things less up to my taste (the vocals, some over-dramatic or ballsy moments) I can say this is probably the best EP I have heard.

The music is quite laid-back at times, and has been recorded in a way so that every instrument has plenty of space and the ability to shine but not so distant from each other so that they also have the ability to blend and complement what each is playing. There are long instrumental passages where they all have the chance to take the lead role, and show that many other the classic prog bands have also had an impact on their sound (early Genesis, Gentle Giant, Yes to name a few). Definitely one to keep an eye on, this EP can be streamed from Bandcamp so it is possible to try before you purchase and at only 5 Euros it is a bargain. Www.octopieband.bandcamp.com

The band plays an interesting form of prog rock which sounds like a mix of classic rock and symphonic prog. On one hand, they have a very classic rock sound to their guitars, and the bassy grooves they induce, but, on the other hand, they use flute and keys very well, too. The flute is even a mainstay instrument in the first song, and not just a novelty. Thus, the flute can be found in solos, but also in the middle of the instrumentals, just like the guitars. This, honestly, is what really drew my attention. To hear flute used in such a way is just awesome, but to hear flute used this way and actually be masterfully written and beautiful---that is something special.

Tom Tamlander on vocals also sounds very much like 70s rock singers. Not just his tone, mind you, but also his vocal melodies. He forms such a whimsical accompaniment to the music that I start feeling nostalgic for some Hendrix or The Doors. These tones are certainly in there, but Octopie is no copycat.

My favorite two tracks are "Departed" and "Moths". The former is packed with flute and groove, and the the latter is melodious and features some great keys. The other two songs are excellent as well, as "Empty Pages" includes a slow ambiance accented with great guitars and "It's Time" has wonderful groove.

Bassy, rockin', and funky, "Octopie" is worth your time. I hope to hear a full album from this band soon, especially if it features the same great flute and keys.

Octopie claim to have been influenced by bands such as Pink Floyd, Yes, King Crimson, Genesis, Jethro Tull and present their ideas in three long tracks.''Rhymes of Love'' bastardized the first vibes of 70's Progressive Rock with the farewell sound of late-60's Psychedelic Rock and here the band sounds a lot like early PINK FLOYD and SOFT MACHINE with a touch of URIAH HEEP.Smooth guitar playing produces both narcotic and melodic lines, the vocals are pretty great and offer a nostalgic sound next to the calm electric guitars, while there is also some fair amount of electric piano in the process.The later part of this piece offers more energetic music with prominent use of organ and scratching riffs in a Heavy Rock mode.''Hubris Love'' kicks off with an excellent vintage-styled keyboard wave, full of synths, organ and Mellotrons to become a lyrical adventure of electric soundscapes with a slight jazzy edge in the guitar lines and Tamlander in his most theatrical performance.Nice arrangements with again a powerful atmosphere after the middle, which even includes some delicate flute sounds but basically being driven by a strong rhythm section and Lehtomaa's old-school guitar moves.The 11-min. ''Moths (Part 1)'' is a mix of Fusion and Psychedelic Rock, following mostly a hypnotic mood in the opening theme, based on the obscure synth workouts, before explosing into a psychedelic jam of guitars, bass, drums and organ and closing with a symphonic section, characterized by melodramatic vocals, Mellotron and acoustic guitars.

Very good debut, which gets a bit more dramatic than it should at times, but still manages to offer nice retro soundscapes in a slightly personal enviroment.Warmly recommended.